Indonesian Youngsters’ Preference towards Japanese Pop...
Transcript of Indonesian Youngsters’ Preference towards Japanese Pop...
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
212
DOI:10.217716/ub.icon_laterals.2016.001.1.14
Indonesian Youngsters’ Preference towards Japanese Pop Culture:
What Makes Indonesian Pop Culture is Trailing in Popularity
Doddy Dwi Wahyuwono
Universitas Negeri Malang, Faculty of Letters
Malang, East Java, Indonesia
ABSTRACT
Pop culture or popular culture is the entirety of ideas, perspectives, attitudes, images,
and other phenomena that are within the mainstream of a given culture. Japanese pop
culture reflects both the present and the past, including cinema, cuisine, television
programs, anime, manga, music, etc. It has become a well-known fact that Japanese
pop culture is very famed in many countries, both western and eastern countries,
including Indonesia. In Indonesia, Japanese pop culture plays a big role, bigger than
Indonesian pop culture itself, for it can enthrall people of all ages, specifically
youngsters. In the recent decade, Japanese pop culture’s popularity has skyrocketed
from just a knowledge and entertainment to such a lifestyle for some Indonesians.
Those Indonesians, or any person from any country, who excessively love Japanese
pop culture, are often referred as otaku. Nevertheless, why do those Indonesians prefer
Japanese pop culture than Indonesian pop culture? To figure it out, 50 random
youngsters in Malang who love Japanese pop culture were asked to fill in questionnaire
about the comparison of Japanese and Indonesian pop cultures and their preference on
it. Likert scale was used to measure their answer on them. The results show that
Indonesian pop culture is trailing in popularity mostly because of its lack of innovation.
For that reason, researcher suggests Indonesian pop culture lovers or any Indonesian
to develop and innovate it by using the 3-tier strategy; adapt, innovate, and grow.
KEYWORDS: Japanese pop culture, Indonesian pop culture, otaku, pop culture in
Indonesia
Pop culture, or one may say it popular culture, is a quite prominent term
nowadays. Even though it has become well known, many people still do not know
about what pop culture truly is. Before discussing it further, it is a very majestic
importance to understanding what culture exactly is. Williams in Storey (2009) said
that culture is called as one of the two or three most complicated words in English
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
213
language. Williams suggests three broad definitions about this. First, culture can be
used as a referral to general process of intellectual, spiritual, and aesthetic
development. What it means by those words is like what great philosophers, great
artists, and great poets of the early and medieval European civilization create in order
to feed humans’ hunger of any intellectual, spiritual, and even aesthetic need at that
time. Second, culture also refers to a certain way of life, whether of a people, a period,
or a group. It can be seen from daily lives findings, such as festivals, holidays, religious
activities, etc. Third, Williams also says that culture is concerned as the works and
practices of intellectual and especially artistic activity. Using this definition, we can
conclude that novels, opera, and fine art are also considered as culture.
Based on those three different-but-similar explanation about what culture
means, John Storey concludes what Williams has stated before and correlates them
with the term popular. Storey (2009) states that any definition of popular culture will
bring into play a complex combination of the different meanings of the term “culture”
with the different meanings of the term “popular”. Popular culture is simply culture
that is widely favored or well-liked by many people. To be more specific, pop culture
is the entirety of ideas, perspectives, attitudes, images, and other phenomena that are
within the mainstream of a given culture. According to the given definition, pop
culture reflects not only the current popular culture, but also the past popular culture.
It covers many things, such as lifestyle, culinary, cuisine, entertainment programs, arts,
etc.
Every country has its own popular culture, including Indonesia. And it is also
extremely possible for a country to be strongly influenced by other countries’ pop
cultures. In Indonesia, there are many pop cultures from many different countries, both
from western and eastern countries, that leave their marks and even are predicted to
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
214
able to swap Indonesian pop culture’s popularity in Indonesia itself in the future.
Japanese pop culture is one of pop cultures that penetrates Indonesia that can do so.
Since several decades ago, Japanese pop culture has played a big role in Indonesian
pop culture. “Indonesia has been Japan’s key partner in the region, for both cultural
diplomacy and ODA (Official Development Assistance). The two aspects together
have made Indonesia a Japanophile that is positive for the Japanese influence and
favorable to Japanese culture” (Han, 2015).
In his paper in East Asia Journal, Lam (2007) states in a form of table that
Indonesian people, respondents aged 18 and above, were ranked second in Asia, with
the percentage of trust in Japan 87.8%, which puts Indonesia as the number 2 country
that has faith in Japan after Thailand. He also states in different table that Indonesian
young adults were placed 2nd in attraction towards Anime and Manga, 3rd in Japanese
cuisine, 1st in Japanese Movies, 2nd in Japanese TV Programs, 5th in Japanese Fashion,
4th in J-Pop, 2nd in Sumo and Baseball (and other Japanese sports), and 3rd in Japanese
traditional culture in East Asia. To see how strong Japanese pop culture’s influence in
Indonesia actually is, there comes several research problems that can be answered in
this paper. They are:
1) Do Indonesian people aged 18 and above, specifically in Malang, truly love
Japanese pop culture that much?
2) Does Japanese pop culture that enters Indonesia really overwhelm Indonesian pop
culture in Indonesia itself?
3) What are the factors that Japanese pop culture has which are able to skyrocket its
popularity in Indonesia that Indonesian pop culture does not have?
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
215
RESEARCH METHOD
In order to prove the theory and hypothesis that have been stated before,
quantitative research design is used to collect the necessary data. A survey in the form
of a 16-point closed format questionnaire is utilized to gain some data. By doing this,
the data that is collected will be easier to convert into table, statistics, or diagram.
Moreover, this method costs minimum effort and time, but the result is objective and
valid enough as long as there is no manipulation.
The data collection process is done by spreading the questionnaire into 50
people, aged 18 and above, in Malang who simply love Japanese pop culture and
excessively fond of Japanese pop culture (otaku) on July 2016. They are asked whether
they know and like Japanese pop culture first. If they say yes, the questionnaire is
given to them to fill. Likert scale is used as the scale of measurement to collect the
data.
FINDINGS AND DISCUSSION
After doing the survey, they data is recapitulated and processed as follows:
Table 1.
No. Statement Strongly
Disagree Disagree Neutral Agree
Strongly
Agree Total
1 Japanese pop
culture’s popularity
in Indonesia is
gradually increasing
each year.
0 4 10 27 9 50
2 Japanese pop culture
tenders many things
which are fresher,
more creative, and
more innovative to
you compared to
Indonesian pop
culture.
1 3 14 22 10 50
3 Most of Indonesian
pop culture tends to
adapt and/or adopt
Japanese pop culture.
3 7 25 14 1 50
4 The existence of so
many Japanese 1 5 15 22 7 50
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
216
No. Statement Strongly
Disagree Disagree Neutral Agree
Strongly
Agree Total
culture festivals
(bunkasai) makes
you more passionate
and interested to
learn more about
Japanese pop culture.
5 Japanese pop culture
that is somehow
packaged in a very
sterling quality
predisposes you to
doing a deeper study
on Japanese pop
culture.
1 4 7 27 11 50
6 Japanese pop culture
that regularly adapts
to the current trends
leads you to fond of
Japanese pop culture
more and more.
4 6 16 19 5 50
7 The packaging and
the innovation of
Japanese pop culture
are indubitably better
than Indonesian pop
culture.
2 4 7 25 12 50
8 The lack of flexibility
that Indonesian pop
culture probably
suffers in order to
adapt to the swift
flow of globalisation
makes Indonesian
pop culture is not
developed well and
does not interest
Indonesian people
anymore, specifically
youngsters and young
adults.
1 9 16 21 3 50
9 Indonesian pop
culture obviously
needs more
improvement and
innovation following
the recent trend so
that its popularity can
skyrocket.
0 1 3 26 20 50
10 What makes
Indonesian pop
culture is trailing in
several aspects with
Japanese pop culture
2 2 12 27 7 50
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
217
No. Statement Strongly
Disagree Disagree Neutral Agree
Strongly
Agree Total
is that Indonesian
human resources
themselves are not at
the same level with
Japanese human
resources.
11 Indonesian pop
culture is somehow
not supported by the
existence of events
about Indonesian pop
culture itself (e.g.
festivals, carnivals,
fairs, etc.).
1 3 10 23 13 50
12 Indonesian pop
culture is not creative
enough mostly on its
development and is
suspected to contain
many plagiarism.
1 6 13 23 7 50
13 Indonesian pop
culture marketing
strategy is considered
ineffective in
boosting Indonesian
pop culture’s
popularity itself.
0 1 5 37 7 50
14 There is insignificant
bravery in Indonesian
pop culture in
acculturating its
old/ancient culture
and its modern
culture to become
contemporary
culture.
1 2 14 22 11 50
15 The government is
concerned having
less support in
facilitating the
emergence of
Indonesian pop
culture, specifically
in several new
aspects with several
ideas and
innovations, and
often compels every
single Indonesian pop
culture to sustainably
put educational and
benevolent values
even though the latest
0 2 8 20 20 50
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
218
No. Statement Strongly
Disagree Disagree Neutral Agree
Strongly
Agree Total
Indonesian pop
culture mostly has no
educational aspects
and values.
16 For you, Indonesian
pop culture itself
does not ring a bell.
0 15 14 16 5 50
According to the data, majority of the sample chooses mostly to be on the
positive side although there are still a number of them who decide to be neutral. From
those statements, it can be seen that there are some aspects that cause those respondents
in Malang to be less interested in Indonesian pop culture. In order to know what truly
makes Indonesian pop culture lost in popularity even in its very original country
compared to Japanese pop culture, it is better to know what Indonesian and Japanese
pop cultures’ conditions in Indonesia are.
Indonesian Pop Culture
Mursito (2012) said that pop culture actually lies around us this whole time.
The number of its lovers is majestic, yet the period of its popularity is often short.
Mursito also said that Indonesian pop cultures, the so-called culture that lives in and
is lived by society, is supported by Indonesian number 1 mass media, Television. He
thinks that pop culture and entertainment world meet on Television because there is a
similarity between them, which is the focus on communicative aspect rather than on
rating and quality. This statement is very contradictory to Irawan’s research about
Indonesia Television programmes and the kind of Indonesian pop culture that Mursito
has stated before. Irawan (2013) said that since 1980s, Indonesian TV stations always
compete to acquire as many viewers as possible so that they can increase their ratings
because rating will make them easier to obtain sponsorship. Unfortunately, TV stations
often broadcast programs that have no educational, cultural, or moral values, yet
contain plagiarism. These statements have correlation with the questions number 3,
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
219
12, and 15. Moreover, according to Vidyarini (2008), Indonesian TV comedy
programs as one of Indonesia pop cultures mostly contain insults, which are considered
as jokes. This means two things, the first is that insults have become seasoning of TV
programs that relieve us from our frustration; and the second is that it is actually parts
of our “cultures” because Indonesian people think that insults are better jokes rather
than American “smart” humor.
In the last decades, Indonesia has a very vast development of pop culture. Many
pop cultures from different sectors such as culinary, music, TV programs, animation,
fashion, lifestyle, etc. keep growing. Aside from pop cultures in TV programmes that
are already discussed in the previous paragraph, Indonesian music industries has also
grown tremendously. One of them is dangdut. Sekewael (2016) stated that dangdut
became very popular among a large part of the Indonesian population. It is proved by
the fact there is an annual national dangdut competition named D’Academy in
Indonesia. The rating of this programme is very high. Not only Indonesian pop culture
that grows, but also many foreign pop cultures that grow rapidly in Indonesia. Many
people will not forget the time when there was huge penetration of Korean pop cultures
that stimulated Indonesian people to create their own boyband or girlband. This leads
to a case when a particular boyband or girlband in Indonesia was spotted to plagiarise
one of the most prominent boyband or girlband in Korea.
Japanese Pop Culture
In the recent decades, Japanese pop culture grows rapidly in the world. This
has a correlation with a statement from Lam (2007) that says that in order to increase
interest in Japan and further heighten the image of Japan, Ministry of Foreign Affairs
(MOFA) is working with the private sector through overseas diplomatic
establishments and the Japan Foundation to promote cultural exchanges while taking
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
220
into consideration the characteristics of each country. He also said that Japan is
burnishing its international image through the popular medium of manga and anime.
Heng in Han (2015) pointed a statement that Japan has been promoting its “normative
soft power as global trouble-shooter”, in which means that Japan is not merely
promoting and introducing its popular culture to the world, but also its universal values
and influence in the world. In her article on Bad Subjects, Newitz (1994) stated a fact
that in 1980 – 1981, animated programs, which accounted for 56% of total exports, led
exports of Japanese television shows. From that excerpt, it can be concluded that
nowadays, Japanese pop culture that is distributed through television programs since
1980 must be very huge. An excerpt by Chambers (2012) that said that Japanese
animation, or anime, is a huge industry nowadays, even in United States supports it.
Japanese pop culture also hits Asian markets. Lam (2007) said that in April
2006, Foreign Minister Aso Taro proposed that manga and anime could be the way to
China’s heart. The Foreign Minister also noted, “If you take a peek in any of the shops
in China catering to the young otaku (nerdy-type manga and anime fans), you will find
the shops’ walls lined with any and every sort of Japanese anime figurine you can
imagine. …We have a grasp on the hearts of the young people in many countries, not
the least of which being China”. Lam also states that in November 2006, the Council
on the Movement of People across Borders, an advisory council to Foreign Minister
Aso, proposed that Japan should tap on the rising popularity to manga and anime
especially among the young abroad. Accordingly, Japanese pop culture, especially
manga and anime in which they focus on to spread, must be very prominent in Asia.
Wai-ming (2001) said that the popularity of Japanese animation in Singapore is
booming, but it still has a long way to go. Adrian (2016) concluded that Japan is one
of the countries that successfully develop cultural diplomacy with countries all over
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
221
the world, including Indonesia; this cultural diplomacy is included in Japan-Indonesia
Partnership Agreement in 2012-2015. Venus and Helmi (2010) proclaimed that there
are some variants of Japanese pop culture that gain popularity in Indonesia, such as
movie, music, anime, manga, and fashion.
Aside from media and cultural diplomacy, Japanese culture and Japanese pop
culture also spread through language class. Just like the theory of Grammar-
Translation Method in the Teaching of Foreign Language, one can study their
literature/literary works, which is the product of cultures, in order to master the
language. According to Mahoney (2009), it is becoming widely acknowledged that
communicative competence is not the only goal of language learning; culture is
inseparable from language and it is only through an intercultural approach to language
teaching and learning that effective communication and intercultural understanding
can occur. Based on Wardana’s, Fasisaka’s, and Dewi’s (2015) research, there is a
significant increase of the number of people who studies Japanese language all over
the world from 2009 to 2012, and from those countries, Indonesia is ranked second
from all the population. Moreover, there is also positive correlation on the number of
Japanese language learners with the number of annual Japanese pop culture festivals,
World Cosplay Summit. This vividly shows that Japanese pop culture can spread
through any media, one of them is classroom.
Indonesian Pop Culture vs. Japanese Pop Culture in Indonesia: a Comparison
To know the comparison between the two pop cultures that are already
mentioned above, the recapitulated questionnaire data will be analyzed with the help
of the theory from previous research. For the first question, the majority of people says
that Japanese pop culture always keeps growing here in Indonesia. But the reality
contradicts with their opinion. Based on BBC World Service data about other
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
222
countries’ views on the Japanese influence in Han (2015), Japanese pop culture in
Indonesia slowly has decreased in popularity since 2012 to 2014 even though
Indonesia still ranked the first as country who thinks positively of Japanese pop
culture.
Figure 1. Source: BBC World Service in Han (2015)
(Global average means the average country ratings of all the countries in the year)
Secondly, most of the people believe that Japanese pop culture offers many
new things, which are fresher, more creative, and more innovative. According to
Simeon’s research (2006), Japanese culinary is the most Japanese pop culture accepted
worldwide; anime/manga, video games, and character goods/action figures are the
second; The adjectives that are used to describe Japanese pop culture are positive, such
as interesting, trendy, cool, and innovative. This research supports the statement
number 2 and 6 that Japanese pop culture holds out different things that are seen
positively.
Third, most of Indonesian pop culture tends to adapt/adopt Japanese pop
culture. Some people disagree with this statement because they believe that Indonesia
has its own identity in its pop culture. Still, the majority of people chooses that
adoption or adaption from Japanese pop culture exists in Indonesia. Han (2015) said
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
223
that JKT48, an Indonesian idol group based on most popular Japanese idol group
AKB48, is seen as a part of Japanese government’s Cool Japan Project. There is also
a bi-monthly, now monthly, manga magazine in Indonesia namely Shonen Fight that
is quite similar to Japanese Shonen Jump because the head editor is Japanese. Actually,
those do not prove anything that Indonesia adapts or adopts Japanese pop culture
because the initiators come from Japan; it also does not support statement number 12.
Next, the existence of Japanese culture festivals (bunkasai) makes most of the
respondents interested in learning more about Japanese culture and pop culture. Take
World Cosplay Summit as an example. World Cosplay Summit is an annual
international Japanese pop culture festival. Based on a research by Wardana et al.
(2015), there is a positive correlation between the number of Indonesian people who
study Japanese language and culture with the number of Indonesian people who
participate in WCG. This research is significant enough to support the statement.
The outstanding packaging of Japanese pop culture causes the majority of
respondents to learn about Japanese pop culture. Most of the respondents agree with
the statement number 5 and 7 about the better packaging of Japanese pop culture.
Simeon (2006) concluded that Japanese business models are so successful that they
manage to integrate the culture with the pop culture, and vice versa. Morishita in
Simeon (2006) also said that Japanese popular culture products could soon be
recognized as strong brands with enormous commercial potential. The good packaging
leads to good marketing strategy too. Simeon stated Japanese pop culture marketing
covers general promotion of national cultural activities as well as the active worldwide
interest in the dynamic and trendy subcultures in Japan, which leads to strengthen
Japan’s presence and influence in soft power in the world. On the contrary, Kurnianto
(2015) stated that Indonesian pop culture, specifically animation, lacks of both quality
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
224
and quantity since 1980s. This condition affects Indonesian pop culture marketing
strategy badly. Most of the respondents also agree with this statement, as already stated
in the statement number 13.
In statement number 8, most of the people agree that Indonesian pop culture
does not have the flexibility to adapt with the current condition and market. Actually,
a research conducted by Jaszi (2009) said that Indonesian culture, in this case
traditional arts, has the dynamism and flexibility. This statement has a relationship
with statement number 14 which said that Indonesian pop culture has no bravery in
acculturating its high culture with its pop culture; and most of the people also agree
with this statement. But, according to Richter (2008), there is an contemporary culture,
in this case music, in Yogyakarta which acculturate Jatilan, a kind of trance dance,
with electronic music. There is also an emergence of Wayang Millenium in
Yogyakarta, which combine the story of wayang with modern effect and music. Those
proofs clearly prove that Indonesian actually has the bravery to combine its culture
with its pop culture.
The next statement, statement 9, said that Indonesian pop culture does need
improvement on innovation so that the popularity will rise again. This statement is
related to statement 11. Most of the people agree to this statement. Kuswanto (2009)
also concurred with the statement about the need of improvement in Indonesian pop
culture, animation industry. He stated that animation industry in Indonesia needs to
improve, mostly with the help of students majoring in animation. Kuswanto also said
that there are some obstacles in developing animation industry in Indonesia; one of
them is the limitation in Indonesian human resources. His statement is related with the
statement in the questionnaire number 10 and number 15. Many people strongly agree
with statement 15. It is clear that statements from other researches support this
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
225
statement. Vidyarini (2008) and Irawan (2013) considered the Television as the very
essential media to televise positive pop culture, yet they choose to pursue ratings and
forget to give something positive. From the statement number 16, there is not much
thing that can be said. But based on the comparison between respondents who know
and do not know Indonesian pop culture, Is it shown that there are more respondents
who do not know Indonesian pop culture well.
CONCLUSION
Pop culture is the entirety of ideas, perspectives, attitudes, images, and other
phenomena that are within the mainstream of a given culture. Every country has its
own pop culture, but it is highly possible that pop culture from different country enters
and even overwhelms other pop cultures. The penetration of Japanese pop culture in
Indonesia has been fluctuating since 1980s until now. After analyzing the survey data
with many theories and findings from previous researches, the answer to the research
questions are as follows:
1) According to the research, the answer is yes. The respondents mostly love
Japanese pop culture, but they do not excessively love Japan or anything related
to Japan because their answers are very diverse.
2) Based on the research, the answer is mostly yes. Japanese pop culture overcomes
Indonesian pop culture in Malang, but not completely overwhelming it. The
answer of this question is not suitable to be applied to a bigger population, like all
Indonesians, because Malang itself is considered as a big city in Indonesia. The
result in different city, the small ones, can be different.
3) The factor that makes Japanese pop culture bests Indonesian pop culture in
Indonesia itself is that it has better innovation, package and packaging, follow-up
action/events, flexibility, human resources, and so on.
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
226
What I, researcher, can suggest about this research is that there must be another
similar research with a wider scale and samples so that the acquired data will be more
valid. What I can suggest for the development of Indonesian pop cultures is divided
into three strategies, they are:
1) Adapt. Indonesia can adapt Japan’s strategy, or any other creative country, on
how to make their cultures become popular. For example, to acculturate
Indonesian culture and pop culture, Indonesia can mass-produce action
figures/character figures of Indonesian wayang’s characters, folklore’s characters,
or even characters resembling Indonesian traditional dance gestures. Indonesia
can also adapt current technology to boost their pop cultures, for example,
Indonesia can introduce some parts of their moral values, philosophies, cultures,
and heritages through animation, movies, or comics. It can be very well known if
it is packaged in a very great story, such as Japanese samurai, British knights,
Chinese Shaolin, American cowboy, etc. But, first things first, DO NOT include
all of them in just one story, it will erase the fun of the story.
2) Innovate. Innovation can be implied to existing Indonesian pop culture, for
example for the events. To make Indonesian cultural events more sophisticated,
those events obviously can be innovated into fresher ones. For example, we can
acculturate pagelaran wayang in Indonesia with pop cultural events, such as
comics expo. Moreover, Indonesians can innovate, or even do little changes all
over the shops, to their TV programs. They can make it sophisticated and positive,
rather than making it endless.
3) Grow. Indonesian people can grow communities about popular culture. Those
communities can hold many events related with Indonesian pop cultures, so that
Indonesian pop culture will not be overwhelmed by foreign pop cultures.
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
227
REFERENCES
Adrian. 2016. Diplomasi Kebudayaan Jepang Terhadap Indonesia dalam Kerangka
Japan-Indonesia Partnership Agreement Tahun 2012-2015. Riau:
Universitas Riau. Chambers, S.N.I. 2012. Anime: From Cult Following to Pop Culture Phenomenon.
Elon: Elon University.
Han, S. 2015. Indonesia, Japanophile: Japanese Soft Power in Indonesia. Singapore:
ISA Global South Caucus.
Irawan, R.E. 2013. Pentingnya Penonton Aktif di Era Industri Televisi Indonesia
Saat Ini. Jakarta: Binus University
Jaszi, P.A. 2009.Traditional Culture: A Step Forward for Protection in Indonesia.
Washington D.C.: Washington College of Law
Kurnianto, A. 2015. Tinjauan Singkat Perkembangan Animasi Indonesia dalam
Konteks Animasi Dunia. Jakarta: Binus University
Kuswanto, D. 2009. Strategi Pengembangan Cluster Industri Animasi di Daerah
yang Bertumpu Pada Dukungan SMK Jurusan Animasi. Available at
http://personal.its.ac.id/files/pub/3248-djokokuswantost-
proceeding%20edit.pdf (accessed on June 30, 2016)
Lam, P.E. 2007. Japan’s Quest for “Soft Power”: Attraction and Limitation.
Available at http://link.springer.com/article/10.1007/s12140-007-9028-6
(accessed on June 30, 2016)
Mahoney, C. 2009. Teaching Culture in the Japanese Language Classroom: A NSW
Case Study. Available at http://newvoices-jpf-sydney.org/3/chapter6.pdf
(accessed on July 1, 2016)
Mursito, B.M. 2012. Membaca Budaya Populer di Televisi. Surakarta: Universitas
Sebelas Maret.
Newitz, A. 1994. Anime Otaku: Japanese Animation Fans Outside Japan. Berkeley:
Bad Subjects.
Richter, M.M. 2008. Other Worlds in Yogyakarta: From Jatilan to Electronic Music.
Oxfordshire: Roudledge
Sekewael, R. 2016. Indonesian Popular Music and Identity Expressions: Issues of
Class, Islam, and Gender. Leiden: Leiden University
Simeon, R. 2006. The Branding Potential and Japanese Popular Culture Overseas.
Available at
http://www.cluteinstitute.com/ojs/index.php/JDM/article/view/5031
(accessed on July 2, 2016)
Storey, J. 2009. Cultural Theory and Popular Culture: An Introduction the 5th
Edition. Sunderland: Pearson Longman.
Venus, A and Helmi, L. 2010. Budaya Populer Jepang di Indonesia: Catatan Studi
Fenomenologis Tentang Konsep Diri Anggota Cosplay Party Bandung.
Yogyakarta: ASPIKOM
Vidyarini, T.N. 2008. Budaya Populer dalam Kemasan Program Televisi. Surabaya:
Universitas Kristen Petra.
Wai-ming, B.Ng. 2001. Japanese Animation in Singapore: A Historical and
Comparative Study. Available at
http://www.cuhk.edu.hk/jas/staff/benng/publications/Anime(AJ).pdf
(accessed on June 29, 2016)
Proceedings of International Conference on Language, Literary and Cultural Studies (ICON LATERALS) 2016
Widyaloka Auditorium, Universitas Brawijaya, Jl. Veteran, Malang, 29 October 2016
228
Wardana, I.M.W.S, Fasisaka, I, and Dewi, P.R.K. 2015. Penggunaan Budaya
Populer dalam Diplomasi Budaya Jepang Melalui World Cosplay Summit.
Available at http://ojs.unud.ac.id/index.php/hi/article/view/13475 (accessed
on July 2, 2016)